Timbaland is similar to producers such as Norman Whitfield in that he helped to redefine the sound of an entire genre of music with an immediately recognizable production style. The songs he produces feature unusual arrangements, sounds, and instrumentation, tied together by a trademark sense of rhythm. Like Spector and Whitfield, Timbaland's production sometimes overshadows the credited performer and becomes the actual "star" of the song. With songwriters Steve "Static" Garrett and childhood friend Missy Elliott, Timbaland has helped to create some of the most successful songs in modern pop music and urban music, including singles for Aaliyah, Ginuwine, SWV, Total, and 702.
Mosley grew up in Norfolk, Virginia, where he became acquainted with Missy Elliott and Melvin Barcliff, whose MC name was "Magoo." Originally a disc jockey known as "DJ Timmy Tim," Mosely began making hip-hop backing tracks on a Casio keyboard he owned. In 1993 Elliott heard his material and, taken by Mosley's unique sense of rhythm, immediately began working with him.
Elliott and her girl group Sista auditioned for DeVante Swing, producer and member of successful R&B act Jodeci. Devante signed Sista to his Swing Mob label, and Elliott brought Mosely and Barcliff along with her. Mosely began working under Devante, who renamed the young producer Timbaland, after the Timberland boot popular in hip-hop fashion.
Sista and Timbaland & Magoo became part of Devante's stable of Swing Mob signees known as "Da Bassment" crew, joining artists and groups such as male singer Ginuwine, male vocal group Playa, and girl group Sugah. Timbaland did production work on a number of projects with Devante, including the 1995 Jodeci LP The Show, The After-Party, The Hotel, and Sista's debut LP, which was shevled and never saw release.
Timbaland was also friends with Pharrell Williams, and had dabbled in projects with him as S.B.I., or Surrounded By Idiots. Pharrell recalls in an interview: "“In seventh grade I met Chad. That’s twenty years ago by now. Like I said earlier, we started producing beats together. But then again, I also played with this famous group which consisted of Timbaland, Magoo, myself and some other guy. Chad wasn’t a part of the group, so I was in The Neptunes and in Surrounded By Idiots at the same time.” A few tracks produced by the group float around on the internet, the most distributed being "Big White Spaceship".
In 1995, most of Devante's acts broke their ties with the producer and went their own ways. Elliott, Timbaland, Magoo, Playa, and Ginuwine continued to collaborate, and began working on individual projects of their own. Elliott began receiving recognition as a songwriter and guest artist for artists such as 702 and MC Lyte, and Timbaland was sometimes assigned to produce remixes of Elliott-penned songs. One of these, the remix to 702's "Steelo" in 1996, became Timbaland's first important production credit.
Also in 1996, Ginuwine released his debut album, Ginuwine...the Bachelor, which was produced entirely by Timbaland. The album was both a commercial and critical success, and its first single, "Pony," was the first example of what would later become the signature Timbaland sound.
The track for "Pony," which Timbaland had created two years prior during the Swing Mob days, was characterized by a shifting, syncopated rhythm, similar to samba or jungle music, which used snare and kick hits on typically non-accented beats in the measure. Stuttering high-hats typical of southern bass music accompanied the basic drum sounds, which were, unusual for hip-hop and R&B of this period, severely gated to create short, strong sounds. This use of the "short snare" is in marked contrast to the "long snare" sound in New Wave music in the 1980s, which featured a heavily amplified, almost white noise snare drum put through reverb. Accompanying the unusual rhythm were melody lines created by playing odd sound effects (vocal effects and cartoon slide whistles) through a sampling keyboard. The other tracks on Ginuwine...the Bachelor also featured similar production and arrangements. On many of the tracks, Timbaland can be heard either rapping or providing ad-libs, similar to what both Elliott and Puff Daddy where doing at the time; Timbaland's deep voice was usually vocoded to give it an electronic sound.
While work was being completed on Ginuwine...the Bachelor, R&B artist Aaliyah contracted Timbaland and Missy Elliott to write and produce most of her second album, One In A Million. The tracks that were crafted for Aaliyah featured innovative arrangements similar to those on Ginuwine...the Bachelor. One In A Million went on to sell over two million copies, and made superstars out of not only Aaliyah, but Elliott and Timbaland as well.
Elliott and Timbaland became one of the most successful and prolific songwriting/production teams of the late-1990s. By the end of the decade, Timbaland's sound had been heard in records from artists such as SWV, Destiny's Child, Nicole Wray, Jay-Z, Nas. Most of his production work during this period was reserved for his original stable of collaborators: two Missy Elliott albums (Supa Dupa Fly and Da Real World), a second effort by Ginuwine (100% Ginuwine), and Playa's debut album (Cheers 2 U). Timbaland produced much (if not all) of the material on many of their albums during this period, and also made two albums of his own: one with Magoo, and one solo album. Timbaland's own raps, which were usually ghostwritten by Elliott, Magoo, or his younger brother Garland Mosley (AKA Sebastian), were almost always accompanied by other MCs, including his main collaborators and numerous guest artists.
Timbaland spawned a plethora of imitators, some of which went as far as to sample sections of his work to create similar-sounding tracks. The popularity of the "Timbaland sound" marked a shift in hip-hop music from rougher, sample-based tracks to simpler, more synthetic musical accompainiment (unlike many hip-hop producers, Timbaland rarely sampled older records; most of his tracks were crafted by him and his in-house band). Since Timbaland worked in both hip-hop and R&B and often combined elements of one in tracks for the other, his work aided the blending together of the two genres, which became less and less distinct during the first half of the 2000s.
Foreign, especially Asian, instrumentation is present through much of his early work (Xscape's "My Secret" remix, especially, with a rollicking sitar outro and Timbaland ad-libbing "Let's take a little trip...to India"), but was most successful and prevalent with Jay-Z's "Big Pimpin'" (1999), which borrowed directly from the song "Khosara" by Egyptian composer Baligh Hamdi. Missy Elliott's 2001 hit single, "Get Ur Freak On" from her third album, Miss E...So Addictive, was also likewise a smash, using a speedy dhol drumline typical of Bhangra. His borrowing from these cultures has resulted in mixed reactions, with many critics embracing his musical adventurousness and eclecticism and more esoteric, purist factions reacting catiously, and sometimes negatively. In an interview with Missy Elliott in RayGun Magazine, he mentioned a diverse base of influences, from UK Drum 'N Bass to Garage.
Timbaland-produced songs such as Ludacris' "Roll Out (My Business)," Jay-Z's "Hola' Hovito," Petey Pablo's "Raise Up," and Beck's "Diamond Dogs" were recorded and released during this period, and he contributed to Limp Bizkit's 2001 remix album, New Old Songs. He also contributed three songs--all eventually released as singles--to Aaliyah's self-titled third album.
Timbaland & Magoo's second album together, Indecent Proposal, had been scheduled for release in November 2000, and was to feature appearances by Beck, Aaliyah, and new Timbaland proteges--some of whom were signed to his new Beat Club Records imprint--Ms. Jade, Sebastian, Petey Pablo, and Tweet (who was a member of Sugah during the Swing Mob days). The album was delayed until for an entire year, finally being released the following November, and was a commercial disappointment. Beck's vocals for the track "I Am Music" were not included on the final released version, which instead featured Timbaland singing alongside Static (Steven Garrett) of Playa and Aaliyah, who had been killed in a plane crash three months before the release of the album. The loss of Aaliyah deeply affected Timbaland, whose work was less omnipresent after 2001.
The first release on Beat Club was the debut album by Caucasian MC Bubba Sparxxx in October 2002, Dark Days, Bright Nights. Timbaland contributed three tracks to Tweet's debut album, Southern Hummingbird, and produced most of Missy Elliott's fourth and fifth LPs, Under Construction and This Is Not A Test! He also produced hit singles and album tracks for artists such as Li'l Kim ("The Jump Off") and Pastor Troy during this period. Collaborating with Scott Storch, Timbaland also produced a number of tracks on former *NSYNC lead singer Justin Timberlake's solo debut, Justified, including the hit single "Cry Me a River".
Late in 2003, Timbaland delivered the second Bubba Sparxxx album, Deliverance, and the third Timbaland & Magoo album, Under Construction, Part II. Both albums were released to little fanfare or acclaim even though Deliverance was praised by reviews and embraced by the internet community.
Timbaland continues to produce hit singles and albums for artists; in 2004 Timbaland-produced singles by LL Cool J, Xzibit, and Jay-Z became staples on urban radio, and he produced the bulk of Brandy's fourth album, Afrodisiac. New songs from artists such as Tweet and The Game are set for release in 2005.
2005 saw Timbaland producing a song on Tweet and The Game's albums ("Steer" and "Put You on The Game" respectively). He also produced 2 songs on Missy Elliott's 6th album (The Cookbook), "Joy" featuring Mike Jones and "Partytime."
Timbaland started his new label, Mosely Music Group, once again under Interscope. On the label are singers Nelly Furtado and Keri Hilson, and rapper D.O.E. Timbaland's parternship and mentorship of upcoming producer Nate "Danjahandz" Hills is evident in Timbaland's rejuvination in music.
Furtado looks to have her third album, Loose, released under MMG with in the first half of 2006 with Hilson's debut following shortly after. Timbaland is also slated to work with Justin Timberlake, Hilary Duff as well as albums by Jamie Foxx, JC Chasez, Busta Rhymes, Diddy, Ludacris, Chingy, Chilli of TLC, Tweet, and a lot more.
In 2006, Timbaland produced songs "Promiscuous" "My love" and "Sexyback" topped the charts for over fourteen weeks. In 2007, the tracks "Say It Right" and "What Goes Around" also topped the charts. The year 2007 also saw the release of his album "Timbaland presents Shock Value" which featured Fall Out Boy, The Hives, Elton John, Nicole Scherzinger, Justin Timberlake, Nelly Furtado, Missy Elliot, Sebastian (his brother), Keri Hilson, Money, Attitude, and Jim Beanz.
Fantasy
timbaLand Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Ha, are you ready?
Fantasy (oh)
It could be, (oh), good and we
(I was just thinkin' about you)
Wildest thing (you have) ever dreamed, (boy)
(So, what will it be?)
Just lookin' at you, shorty, lights a flame inside (inside)
I'm wondering if you can come and help put out the fire (fire)
But you can get at me, baby, tell me what you like
'Cause I can be your all, boy, I can be your love toy
If you ain't busy, baby, I'm all yours tonight (tonight)
Let imagination take us for a field in mines
Travelin' a dream (dream) we can bring something to life
That no one's ever seen yet, can I?
Show you what it's like beyond your fantasy (oh)
It could be (so) good, and we
Might just get it hot up in the
Wildest thang (you have) ever dreamed, boy
Let me show you what it's like beyond your fantasy
It could be (so) good, and we
Might just get it hot up in the
Wildest thang (you have) ever dreamed, boy
'Cause think of all the tasty things that we can try (try)
The come up you can have will be more than money can buy
(Ho, ho, ho, ho)
We ain't even gotta keep it quiet, boy
All my walls are sound proof
I can scream your name, boo (oh)
My entire house (how) we will not disturb
None of these ol' Neighbors, you get all that you deserve
Boy, I got this on deck if you can conjure up the nerve
To come see what if feels like, can I?
Show you what it's like beyond your fantasy (oh)
It could be (so) good, and we
Might just get it hot up in the
Wildest thang (you have) ever dreamed, boy
Let me show you what it's like beyond your fantasy
It could be (so) good, and we
Might just get it hot up in the
Wildest thang (you have) ever dreamed, boy
(Touch it)
Touch it, touch it, feel it, roll around it, and, if you like
Taste it, taste it, and embrace it again a second time
Don't you waste it, you'll regret it 'cause I can satisfy
Any fantasy that you can come with, can I?
Let me show you what it's like beyond your fantasy (oh)
It could be (so) good, and we
Might just get it hot up in the
Wildest thang (you have) ever dreamed, boy
Let me show you what it's like beyond your fantasy
It could be (so) good, and we
Might just get it hot up in the
Wildest thang (you have) ever dreamed, boy
Let me show you what it's like beyond your fantasy
It could be (so) good, and we
Might just get it hot up in the
Wildest thang (you have) ever dreamed, boy
"Fantasy" by Timbaland is a seductive and playful R&B song that features lyrics about exploring and fulfilling sexual fantasies with a partner. The song's female vocalist asks her male love interest if he's ready to explore their wildest sexual desires beyond his wildest dreams. She provokes him to think about all the possibilities they can try, emphasizing that she can provide him with anything he wants sexually.
The lyrics speak about wanting to have sex and experiment in different ways to fulfill each other's desires. The female vocalist mentions her soundproof house that allows them to be as loud as they desire while neither disturbing their neighbors nor hold themselves back sexually. The song talks about physical pleasure through lyrics that appeal to the senses, such as touching, tasting, feeling and rolling around it. The lyrics want the listener to imagine the possibilities and enter a fantasy world, making us feel like we have the power to fulfill anything we desire.
Overall, "Fantasy" is an R&B song about sexual liberation, giving yourself the freedom to explore your innermost desires with consent from a partner. The song emphasizes the need for communication and consent in sexual relationships, and it embraces pleasure and sensuality with playful lyrics to provide a backdrop for consensual sexual exploration.
Line by Line Meaning
Let me show you, boy
I want to show you something, my dear boy
Ha, are you ready?
Are you prepared and excited for what's to come?
Fantasy (oh)
A pleasurable idea or thought (oh)
It could be, (oh), good and we
This idea could turn out to be very enjoyable for both of us
(I was just thinkin' about you)
I have been thinking about you and this fantasy
Wildest thing (you have) ever dreamed, (boy)
The most imaginative and exciting thing you have ever dreamt of, my dear boy
(So, what will it be?)
What do you want to do about this fantasy?
Just lookin' at you, shorty, lights a flame inside (inside)
Seeing you fills me with desire and passion
I'm wondering if you can come and help put out the fire (fire)
I am curious if you can help me satisfy my desires and calm my passions
But you can get at me, baby, tell me what you like
You can come to me and tell me what you want
'Cause I can be your all, boy, I can be your love toy
I can be everything you need and want, my dear boy
If you ain't busy, baby, I'm all yours tonight (tonight)
If you are free, I am available for you tonight
Let imagination take us for a field in mines
Let us use our imaginations to explore uncharted territory
Travelin' a dream (dream) we can bring something to life
In our dreams, we can create and experience something new
That no one's ever seen yet, can I?
Can we experience something that has never been done before?
Think of all the tasty things that we can try (try)
Consider all the pleasurable experiences we can explore
The come up you can have will be more than money can buy
The rewards we can receive from this experience will be priceless
(Ho, ho, ho, ho)
An expression of excitement and anticipation
We ain't even gotta keep it quiet, boy
We don't have to be discreet, my dear boy
All my walls are sound proof
My walls are designed to prevent sound from escaping
I can scream your name, boo (oh)
I can express my pleasure and excitement loudly and freely
My entire house (how) we will not disturb
We can enjoy ourselves without bothering anyone
None of these ol' Neighbors, you get all that you deserve
We won't be interrupted by nosy neighbors, and you deserve to have a good time
Boy, I got this on deck if you can conjure up the nerve
I am ready and prepared for this experience if you are brave enough
To come see what if feels like, can I?
Can we explore this experience together and find out for ourselves?
(Touch it)
A suggestion to touch and explore each other's bodies
Touch it, touch it, feel it, roll around it, and, if you like
Touch and explore every inch of each other's bodies, and if you enjoy it,
Taste it, taste it, and embrace it again a second time
Taste and experience the pleasure again
Don't you waste it, you'll regret it 'cause I can satisfy
Don't waste this opportunity, you will regret it because I can satisfy your desires
Any fantasy that you can come with, can I?
Can we explore any fantasy that you have in mind?
Let me show you what it's like beyond your fantasy (oh)
I want to show you what it is like to turn this fantasy into reality (oh)
It could be (so) good, and we
This experience could be very enjoyable for both of us
Might just get it hot up in the
Our passion may ignite and intensify
Wildest thang (you have) ever dreamed, boy
The most exciting and imaginative thing you have ever dreamt of, my dear boy
Lyrics © Universal Music Publishing Group, Sony/ATV Music Publishing LLC, Missing Link Music
Written by: Candice Nelson, Dwight Watson, Ericka Watson, Frank Greenfield, Lamar Van Sciver, Walter Milsap
Lyrics Licensed & Provided by LyricFind